"We can fix us. This is now a truism no longer antiquated by the historicism of spirituality. You no longer need flee the bargain that you protracted at birth like so many measles and mumps to the contrary of this vaccination, YOU are the now. YOU are the antidote to your fears. YOU can build yourself anew. Let us consume the NEW. Let us disregard the discrepancy of YOUTH. Let us rejoice in a new AGE and a new awareness of SELF. YOU are the means to an ever-lasting version of YOU plugged in, booting and charismatically recalled from the scrapheap and latex of your memories. Without YOU, there is no US and we benefit from your approval. Consider our offer as a testament to YOUR value. You are NOW. Welcome, this is YOUR handbook to better Living." Brad Feuerhelm, afterword (extract)

"Nos nostalgies is not a scholarly treatise, nor a Perecquian attempt at exhaustion of a subject, but an interrogative mosaic about the contours of our youth, our own children, and the way each one invents his way of life, between social influences and singular genius. "Fabien Ribery, L'intervalle

Nos nostalgies is an extra edition to the 4th part of the exhibition YOUNG at the Platform of Dunkirk.It brings together images of Nicolas Cabos, Joseph Charroy, Martine Dawson, Rebekka Deubner, Bérangère Fromont, Pauline Hisbacq, Maira Marques Coutinho, Melchior Tersen and Camille Vivier.

"The Handbook project is a poetic cartography of sites dedicated to research. In such places, the functioning of our environment, of nature and of our body is measured and analysed for further understanding. In this project, I focus on do-it-yourself gestures and on the modeling of reality performed by researchers. Therefore, I have depicted contemporary research (public, private and civic) and what forebodes our future. Through a non-linear narration allowing me to transition from trivial to complex or even absurd subjects, this body of work tells the story of life. In a world where seasons no longer exist and where many people are no longer interested in what is inside objects, our environment seems very disconnected from the world of knowledge and from how it came into being. This work thus comes from the desire to better understand how our environment is studied and created." M. Q.

"Summer 2015. I spend a few days in a village in Latvia.The forest is everywhere, the population rare, the plants are invasive and venomous. I meet a group of teenagers, ghostly presence in this rough landscape frozen in the past. I ask them to make pictures with me. We stay together for a few hours. Aïva, one of the girls in the gang spontaneously tells me stories about the village, stories of ghosts and haunted houses. "I'm not scared of anything, I'm afraid of ghosts," she tells me. In this relatively inhospitable environment, life seems to fade slowly, without disappearing completely. " Bérangère Fromont

Collection of images collected on the internet. Here put in relation by affinities, shocks, they traverse the questions of desire, fantasies, eroticism, like a flirtation, where often the imaginary feeds images.

Fanzine made on the occasion of the exhibition "Jeune" at the Galerie du Crous in Paris during PhotoSaintGermain and CACN Nîmes, on a proposal by Rebekka Deubner and Pauline Hisbacq. With images of Joseph Charroy, Martine Dawson, Rebekka Deubner, Bérangère Fromont, Pauline Hisbacq, Melchior Tersen and Camille Vivier, many variations on youth...

Rebekka Deubner sketches with this edition a very personal approach to the myth of Amaterasu, goddess of the sun who is said that after a conflict she took refuge in a cave, thus depriving the world of light. It is this moment of nocturnal latency, wet and swarming, that the photographs describe in as many fragments of a vast motionless picture, never seen in its totality. The landscape of the lost traveler, the sea-bed diver perceived by flash and revealed by the blinding light of the flashlight is revealed to us in expressionist snatches, inviting the viewer to share this inner journey. Les Aqueuses, liquid moods, black or shiny, crossing our bodies. Les Aqueuses, imaginary beings populating rivers, rivers and oceans.

Tomorrow Never Knows is a dive into a fantasy night world, at the limit of the fantastic, in an industrial landscape where a few fellow travelers slip, like the specters of our imagination. The serie is constructed as a narrative, a hallucinatory journey, both amazed and frightened. Tomorrow Never Knows is the second part of a trilogy on the changing neighborhood of the 13th district of Paris, at night.

This work records the return of Oliver Clément in the territories of his childhood in the East of France. In this post-industrial and devitalized environment, there is a deep sadness when the light of day is weak. In these landscapes, it seems to reign a dilated and continuous present, similar to a standing wave. Where one could read a form of disenchantment is nevertheless nested a disciplinary romanticism, sluggish, an atmospheric distance between the world and things. These few monochrome images, equivalent to a daily seismography, are born from this meeting and are inspired by the monotonous imagery of the old scientific publications, the dull office environments and the new musical wave.

Broadcasting issues of the 1980 Olympics, the images unfold a narrative around the character of Natalya, on a background of sports competition. The language of the body, the gravity of the faces, the ambiguity of the postures makes it possible to imagine the adolescent dramas of these gymnasts. Tight shots, off-camera, lead to the closest of an underground intimacy. The editing by shocks and sequences continues the idea of a story with holes. Pixelization asserts a faulty and nostalgic memory, necessarily disturbing and fictional. Natalya is a pure photographic work, even as it develops here in a pre-existing stream of archive images.

The book is composed of 24 abstract photographs. This series was made during nocturnal walks in the XIIIth arrondissement of Paris, changing neighborhood, deserted at night. Halfway between street photography and pictorial art, the ambition is above all plastic: to question the limits of figuration, the indiciality of the medium for, in the end, seek to transcribe sensations (from the Greek αίσθησισ / Aisthesis).